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The Two Coreys

The Two Coreys were American actor Corey Scott Feldman (born July 16, 1971) and Canadian actor Corey Ian Haim (December 23, 1971 – March 10, 2010), who rose to fame as child stars and formed a close friendship that defined their careers through joint appearances in 1980s teen films including (1987), (1988), and Dream a Little Dream (1989). Their collaboration extended to the A&E series The Two Coreys (2007–2008), which documented their attempts to revive their careers while living together amid personal struggles with and fame's aftermath. Haim's death at age 38 was officially attributed to complicated by an enlarged heart and narrowed arteries, following years of issues. Feldman, surviving as the duo's sole member, detailed in his 2013 memoir Coreyography experiences of during their child acting years and alleged that Haim suffered similar victimization, including by industry figures. Feldman's public campaign against in , including naming actor Jon Grissom as his abuser and reporting claims to authorities, prompted a investigation in 2017, though it yielded no prosecutions.

Origins and Early Careers

Corey Feldman’s Beginnings

Corey Scott Feldman was born on July 16, 1971, in Reseda, California, to record producer Bob Feldman and cocktail waitress Sheila Feldman. At age three, he entered the entertainment industry, securing a role in a Clio Award-winning McDonald's commercial that marked his debut as a child performer. This early exposure led to a prolific run in advertising, with Feldman appearing in over 100 television commercials by his early teens, including spots for various toys and consumer products that highlighted his youthful energy and on-camera appeal. Transitioning from commercials, Feldman began guest-starring on television series in the late 1970s and early 1980s, demonstrating precocious acting ability beyond rote memorization. Notable early roles included appearances on Mork & Mindy in 1978, where he played a young boy interacting with the extraterrestrial lead, and in 1977, contributing to his growing resume of over 50 TV credits before . These parts, often portraying relatable children in family-oriented narratives, built his foundation in scripted performance amid a home environment strained by his parents' personal struggles, including his mother's reported depression and substance issues, and his father's professional absences. Feldman's initial forays into feature films further showcased his emerging talent as a . In 1979, at age eight, he made his cinematic debut in Time After Time, portraying the "Boy at Museum" in a brief but memorable scene involving and elements. By 1984, he landed a more substantial supporting role as in Friday the 13th: The Final Chapter, a where his character confronts the antagonist , earning praise for conveying vulnerability and determination in high-stakes sequences. These early film credits, secured through persistent auditions, established Feldman as a versatile young talent navigating industry demands from a challenging backdrop.

Corey Haim’s Beginnings

Corey Ian Haim was born on December 23, 1971, in , , , to middle-class parents Judy Haim, an Israeli-born data processor, and Bernie Haim, a clothing sales representative. As a child, Haim aspired to a career and collected comic books, showing minimal initial interest in acting despite his sister's involvement in auditions. He entered television through the Canadian educational children's series (1982–1986), appearing in multiple episodes as the recurring character beginning in the first season. Haim transitioned to film with his debut in (1984), portraying the young brother of protagonist Jake Livingston in a drama depicting family strife after a mother's new relationship turns abusive. Filmed in from April to June 1984 when Haim was 12 years old, the production introduced him to intense Hollywood dynamics, including an on-set altercation where co-star grabbed and slammed him against a wall after Haim complimented his performance on the first day of shooting. This role highlighted early exposure to adult-oriented environments amid youth-focused storytelling. Haim achieved his first major recognition in Lucas (1986), starring as the intelligent, bespectacled title character—a socially isolated teen facing rejection, , and unrequited affection for a cheerleader. Critics praised his authentic portrayal, with commending Haim for delivering a free of clichéd child-actor mannerisms, emphasizing the raw emotional depth of adolescent vulnerability. The film's success facilitated Haim's move to in 1986, marking his shift from Canadian television to the competitive U.S. film scene and foreshadowing the personal strains of rapid fame on a young performer.

1980s Breakthrough and Joint Stardom

Key Collaborative Films

The duo's initial collaboration came in (1987), a vampire-themed horror-comedy directed by , where portrayed Sam Emerson, a enthusiast resisting vampiric influences, and played Edgar Frog, one of two vampire-hunting brothers. The film grossed $32.2 million domestically against an $8.5 million budget, marking a commercial success that propelled Haim and Feldman into status through their on-screen rapport as allies against supernatural threats. Critics noted the performers' engaging dynamic, with highlighting Haim's "fun, youthful innocence" that enhanced the ensemble's appeal, though the review tempered overall praise at 2.5 out of 4 stars for stylistic excesses. Their follow-up, (1988), directed by Greg Beeman, shifted to teen comedy, featuring as Les Anderson, a determined high schooler who fails his and steals his grandfather's car for a date, with Feldman as his pragmatic best friend . The movie earned approximately $22.4 million worldwide, reflecting solid performance for a mid-budget release amid competition from blockbusters. It showcased the pair's comedic synergy in scenes of chaotic escapades and banter, contributing to its enduring cult appeal despite mixed reviews averaging 24% on , where audiences valued the authentic portrayal of adolescent rebellion. The collaboration peaked with Dream a Little Dream (1989), a directed by , in which Feldman led as Bobby Kellar, a straight-laced teen whose body is mystically swapped with an elderly man's spirit, while supported as the eccentric best friend "Dinger". Grossing about $5.5 million domestically, it underperformed commercially and received poor critical reception at 9% on , signaling a tonal toward mature themes of and aging that foreshadowed challenges in transitioning beyond roles. Nonetheless, the film underscored their creative interplay, with Feldman's disciplined performance contrasting Haim's improvisational energy, though diminishing returns highlighted diverging career paths post-1980s.

Individual Roles and Public Personas

Corey Feldman solidified his reputation as an energetic, wisecracking adolescent in solo projects like (1985), where he portrayed the loquacious Clark "Mouth" Devereaux amid a group of treasure-hunting children, and (1986), in which he played the hot-tempered Teddy Duchamp on a quest to find a missing boy. These roles emphasized themes of camaraderie and youthful defiance, positioning Feldman as the relatable, adventurous everyman in ensemble casts geared toward family audiences. His performances, blending humor with emotional depth, contributed to the films' commercial success, with grossing over $125 million worldwide on a $19 million budget and earning critical acclaim for its authentic depiction of boyhood. In parallel, Corey Haim cultivated a persona rooted in resilient vulnerability through genre-specific outings, including Silver Bullet (1985), where he starred as the paraplegic Marty Coslaw uncovering a werewolf's identity in a small town, and Watchers (1988), depicting his character protecting a genetically enhanced dog from pursuers. Haim's portrayals in these Stephen King adaptations and Dean R. Koontz-inspired thrillers showcased his ability to convey fear and ingenuity under duress, appealing to fans of supernatural narratives and distinguishing his screen presence from Feldman's lighter fare. Silver Bullet, released on October 11, 1985, highlighted Haim's lead role in a mid-budget horror film that blended family drama with monster elements, further typecasting him in wheelchair-bound protagonists facing otherworldly threats. Media outlets amplified their individual appeals by framing both as quintessential teen heartthrobs, often dubbing them collectively the "Two Coreys" even in coverage of separate endeavors. Publications like and Teen Beat regularly featured them on covers and in pin-up spreads, capitalizing on a teen magazine market that reached up to 2 million monthly readers at its 1970s- peak, with similar circulation sustaining idol-driven content into the decade. This adoration translated to tangible fan engagement, as evidenced by widespread merchandising and posters adorning bedrooms, though exact sales figures remain anecdotal amid the era's print media dominance. Both navigated early pressures of perpetual youthfulness in public image, with roles demanding childlike exuberance despite their mid-teens ages—Feldman at 14 for and Haim at 13 for —foreshadowing transitions from precocious kids to maturing idols.

Post-1980s Challenges and Decline

Addiction and Personal Crises

Following the intense pressures of their rapid ascent to fame as child actors in the , Corey and Corey both succumbed to , exacerbated by isolation from peers, absent parental boundaries, and an enabling environment that prioritized access over accountability. This dynamic, rooted in the systemic lack of oversight for young stars thrust into adult worlds without safeguards, fostered dependency rather than reflecting isolated personal failings. Haim's issues escalated from prescription sedatives like Valium, which he began abusing around age 15 in the mid-1980s, to and harder narcotics by his late teens, leading to repeated cycles of despite multiple attempts. Witnesses reported his pattern of "" for pills as early as his teenage years, with unchecked supply from enablers amplifying the damage. By the mid-1990s, he had entered rehab several times, though persisted due to the absence of sustained structures. Feldman, similarly, initiated use with marijuana and during the filming of in 1985, progressing to on the set of in 1987 and by the late 1980s, culminating in three drug-related arrests prior to December 1990. An by during in 1989 prompted temporary awareness, but his addiction intensified, requiring a 10-month rehab stay at Cri-Help in North Hollywood starting that December. In his 2013 Coreyography, Feldman attributes these struggles to the disorienting effects of early fame and familial dysfunction, including his mother's own use, which normalized substance access amid professional demands.

Career Trajectories in the 1990s and 2000s

In the 1990s, Corey Haim transitioned to a series of direct-to-video films, including Fast Getaway (1991), which earned an IMDb user rating of 5.3/10 and exemplified the diminished production values and limited distribution typical of his output during this period. Other projects, such as Prayer of the Rollerboys (1990) with a 5.5/10 rating and Busted (1997) at 2.7/10, further illustrated the quantitative decline in role quality and audience reception, as his earlier mainstream teen appeal gave way to niche, low-budget action and comedy vehicles. This trajectory culminated in financial strain, with Haim filing for Chapter 11 bankruptcy protection in July 1997, reporting debts of nearly $104,000 to the Internal Revenue Service alongside $100,000 in other obligations. Entering the 2000s, pursued sporadic comeback efforts through additional releases like Without Malice (2000) and a minor cameo in Crank: High Voltage (2009), alongside failed pitches for formats that underscored the ongoing barriers to broader revival via independent or low-profile projects. These endeavors yielded minimal critical or commercial traction, perpetuating a pattern of that confined him to roles echoing his youthful without recapturing 1980s momentum. Corey Feldman's path diverged with relatively steadier employment, including B-movie leads such as Meatballs 4 (1992), rated 3.5/10 on IMDb, which highlighted persistent but consistent work in genre fare despite similar typecasting pressures. He secured television exposure via the CBS sitcom Dweebs (1995), a 7-episode series portraying socially awkward tech workers, and guest spots like the Fox anthology episode "Electric Twister Acid Test" (1996). ) In the 2000s, Feldman maintained output through independent films and ancillary roles, evidencing greater professional longevity amid the era's challenges for former child stars, as his diversified TV and voice opportunities buffered against the sharper output drop seen in Haim's career. The duo's shared history as 1980s teen idols amplified typecasting's toll, funneling both into projects with subdued metrics—such as sub-6/10 IMDb averages for 1990s films versus 7+ ratings for hits like The Lost Boys (1987)—and negligible theatrical box office, as direct-to-video dominance precluded wide releases and revenue comparable to their earlier blockbusters.

Reunion Efforts

The Two Coreys Reality Series

The Two Coreys is an American reality television series that premiered on A&E on July 29, 2007, with two back-to-back episodes, and ran for two seasons through 2008. The premise centered on Corey Haim relocating to the Los Angeles home shared by Corey Feldman and Feldman's wife, Susie, to repair their decades-old friendship strained by personal and professional setbacks, while pursuing joint career opportunities. The format adopted an "Odd Couple"-style docuseries approach, capturing unscripted domestic clashes, nostalgic reflections on their 1980s fame, and efforts at mutual support amid lifestyle differences—Feldman portrayed as a tidy, family-focused homeowner, contrasted with Haim's more chaotic habits. Episodes emphasized interpersonal tensions and intervention attempts, such as sessions addressing past betrayals and the season 2 finale "," where the Feldmans confronted Haim's ongoing instability and dependency issues in a structured . Other installments highlighted comedic mishaps, like a experience, alongside failed pitches for projects evoking their era, underscoring nostalgic appeal laced with unresolved conflicts. The series executive-produced by Feldman aimed to showcase raw vulnerability, including Haim's erratic behavior and the duo's candid discussions of faded stardom, but often amplified manufactured drama for viewer engagement. Reception was divided, with some viewers appreciating the authentic affection and humorous dynamics between the pair, describing it as entertaining summer fare that humanized their post-fame struggles. Critics, however, faulted the show for artificial staging and exploitation, particularly in profiting from Haim's apparent emotional volatility and substance-related lapses, which unsettled audiences and raised concerns about reality TV's in documenting personal crises without resolution. Early episodes drew over 1.2 million total viewers in their second airing, capitalizing on curiosity about the reunion, though sustained metrics reflected waning novelty as interpersonal fractures dominated. Ultimately, the series provided a fleeting visibility boost but laid bare enduring relational rifts and Haim's unaddressed challenges, yielding no substantial professional rebound and concluding after two seasons amid critiques of its voyeuristic tone.

Attempts at Professional Revival

Feldman ventured into music as a means of career reinvention, independently releasing the album on April 9, , through his own label, which included collaborations such as a track co-written with and a cover of the Dead Milkmen's "I'm Flying." The effort yielded limited commercial traction and drew criticism for its eclectic pop-rock style amid Feldman's established acting persona. Haim pursued sporadic acting opportunities, landing the role of Randy—a thug associate in a seedy strip club—in the direct-to-video action sequel Crank: High Voltage, released on April 17, 2009. The part, tailored for Haim by director Neveldine/Taylor, marked a brief return to feature films but failed to catalyze broader resurgence, as Haim's appearances remained marginal thereafter. The pair co-developed concepts for scripted collaborations, including an unproduced Lost Boys sequel pitched in the mid-2000s that envisioned reuniting their characters Edgar Frog and Sam Emerson. Opportunities arose for a direct-to-video follow-up, : The Tribe (2008), with Feldman reprising Edgar while Haim was offered Sam but withdrew, citing personal reasons, thus thwarting the joint revival. Feldman completed the film solo, which grossed modestly in home video markets but underscored the challenges in recapturing their 1980s synergy.

Corey Haim’s Death and Immediate Aftermath

Circumstances and Official Cause

Corey Haim was found unresponsive by his mother in her apartment in the Oakwood complex in Burbank, California, on March 10, 2010, at approximately 4:00 a.m.; he was 38 years old and was pronounced dead at St. Joseph's Hospital in Burbank shortly thereafter. The Los Angeles County Coroner's autopsy, released on May 4, 2010, determined the official cause of death to be community-acquired pneumonia leading to diffuse alveolar damage and respiratory failure, with contributing factors including hypertrophic cardiomyopathy (an enlarged heart), coronary arteriosclerosis (narrowing of the arteries), and pulmonary congestion (fluid buildup in the lungs). Toxicology tests detected low levels of multiple prescription medications, including traces of narcotics such as , , and , but the coroner ruled that these substances were not present in amounts sufficient to cause or significantly contribute to his death. In the three months prior to his death, Haim had obtained at least 553 prescription pills—primarily painkillers, anti-anxiety drugs, and sleep aids—through "" from seven different physicians across multiple pharmacies, in violation of state regulations.

Investigations and Conspiracy Claims

The investigated Corey Haim's death on March 10, 2010, as a possible accidental overdose amid initial suspicions of involvement, but ultimately classified it as non-criminal with no charges filed following the coroner's findings. Authorities subpoenaed medical records from approximately 20 doctors and uncovered an illegal ring linked to Haim, resulting in at least one arrest, though the probe focused on fraudulent prescriptions rather than direct causation of death. In August 2011, Corey Feldman publicly attributed Haim's demise indirectly to childhood by a "Hollywood mogul," arguing that the resulting fueled Haim's long-term and , rather than isolating the immediate physiological factors. Feldman positioned as the primary threat to child actors, linking it causally to Haim's spiral without implicating specific criminality in the final events. Judy Haim, Corey Haim's mother, rejected narratives emphasizing overdose, insisting the coroner's report exonerated her son by highlighting and cardiac issues as the true mechanisms, and she described the drug-related scrutiny as unfounded in light of the autopsy's drug results showing no significant contribution. Media reports speculated on broader involvement in networks, with Attorney General Jerry Brown announcing a statewide crackdown that tied Haim's name to over 550 illegally obtained pills in the preceding months, yet the refuted these as pivotal to the fatal outcome, tempering narratives around foul play or orchestrated overdose. Such gaps in probing enablers beyond immediate prescriptions—coupled with Haim's history—have sustained toward official closures, particularly suspicions of unexamined systemic influences like unchecked access to enablers in entertainment circles.

Corey Feldman’s Advocacy and Revelations

Public Allegations of Industry Abuse

In a 2011 interview with ABC News' Nightline, Corey Feldman identified pedophilia as the foremost danger facing child actors in Hollywood, terming it the industry's "biggest secret" and linking it causally to the self-destructive behaviors that plagued many, including Corey Haim's fatal addiction issues. Feldman disclosed that he had personally endured molestation during his youth, while characterizing Haim's victimization—beginning around age 11—as involving "direct rape" by at least one powerful industry figure, a factor he deemed central to Haim's lifelong trauma and decline. Feldman's 2013 memoir Coreyography elaborated on these assertions with firsthand timelines of his own experiences, recounting molestations by several adult men who exploited their professional proximity to him starting at age 12, including repeated sexual advances and assaults that eroded his sense of agency and fueled subsequent substance dependency. Regarding , Feldman detailed a specific incident Haim confided to him: at around age 13 on the set of the 1986 film Lucas, an established adult actor lured Haim to a secluded spot between trailers, where Haim was sodomized using oil as lubricant, an event Feldman described as initiating Haim's spiral into isolation, drug use, and emotional devastation. These narratives persisted in Feldman's public statements, as evidenced by his 2017 appearance on , where he named actor Jon Grissom—who had co-starred with Feldman in films like (1988)—as one of his abusers, citing Grissom's role as a predatory associate who groomed and assaulted him during his early teens. That year, while launching an crowdfunding campaign raising over $270,000 for an investigative project aimed at exposing pedophile networks, Feldman specified as the perpetrator in Haim's Lucas assault, based on Haim's contemporaneous accounts to him of the encounter's brutality and aftermath.

The (My) Truth: The Rape of Two Coreys Documentary

My Truth: The Rape of Two Coreys is a 2020 American directed by and self-financed by , who also served as a producer alongside Arthur Jameson. The film premiered on March 9, 2020, at the TCL Chinese Theatre in , marking the culmination of Feldman's efforts to document alleged sexual abuses endured by him and during their child acting careers. Running 85 minutes, it presents Feldman's narrative through personal testimony, archival footage including appearances by Haim, and interviews with other survivors who claim similar experiences in . The documentary alleges a network of predators targeting young actors, with Feldman naming Dominick Brascia as an individual who repeatedly molested starting around age 11. A central claim involves Feldman recounting 's account of being anally sodomized by on the set of the 1986 film Lucas, when was 13 and Sheen was 19; Feldman frames this as part of a grooming pattern but provides no direct evidence beyond his retelling of 's statements to him. Survivor testimonies in the film detail grooming tactics, coercion, and assaults by industry figures, positioning the abuses as interconnected and enabled by power imbalances in the entertainment sector. Reception to the film has been mixed, earning a 4.6 out of 10 rating on from over 1,000 user reviews as of 2023. Some viewers commended Feldman's determination to expose child exploitation despite industry resistance, while detractors faulted the presentation for elements of amid unverified specifics. The work highlights survivor accounts suggesting underreporting of such incidents in , aligning with broader patterns documented in post-#MeToo investigations into vulnerabilities.

Responses, Denials, and Legal Developments

Charlie Sheen's representatives issued a categorical denial in November 2017 following reports naming him in connection with Haim's alleged during the filming of Lucas in 1986, stating the accusations were "categorically false" and that Sheen, then 19, had no such involvement. Sheen later reiterated the denial in 2020, describing Feldman's claims in as "sick" and unsubstantiated. In October 2013, during an appearance on The View, Barbara Walters challenged Feldman after he raised concerns about in , accusing him of "damaging an entire industry" by publicizing such claims without naming perpetrators, a response Feldman later described as shocking and dismissive of victims. Critics of Feldman's allegations have frequently cited his history of and erratic public behavior as factors undermining his credibility, with observers noting that his past struggles with , including interventions and legal issues in the 1990s and 2000s, have led some to question the reliability of his accounts despite his insistence on their veracity. The opened an investigation in November 2017 after Feldman filed a report detailing his abuse claims and those involving , but closed the case shortly thereafter without filing charges, citing insufficient evidence to proceed given the passage of time and for many of the alleged incidents dating back decades. No further legal actions have resulted from Feldman's public allegations or the 2020 documentary, with detractors emphasizing the absence of corroborating testimony or as a key barrier to validation. In October 2024, amid federal charges against (Diddy) for and , Feldman publicly condemned the allegations as "disgusting" and reaffirmed his commitment to exposing systemic in , positioning high-profile cases like Combs' as evidence of broader predatory networks without claiming direct attendance at Combs' events. Supporters of Feldman's advocacy have drawn parallels to #MeToo-era revelations, arguing that patterns of industry abuse against young actors, as echoed in other survivor testimonies, lend circumstantial weight to his claims despite evidentiary gaps, while causal analysis underscores predation's prevalence over attributions to victims' personal histories.

Legacy and Broader Implications

Cultural Impact and Media Portrayals

The duo of and , dubbed "The Two Coreys," emerged as quintessential archetypes of teen idols through their roles in films like (1987) and (1988), embodying the era's blend of youthful rebellion, camaraderie, and coming-of-age humor that resonated with audiences. Their on-screen chemistry and off-screen friendship fueled a nostalgic revival in pop culture, positioning them as symbols of 1980s Hollywood's glossy teen cinema, often referenced in retrospectives on the decade's cultural output. Subsequent media portrayals extended this legacy, with direct nods in The Lost Boys franchise sequels—The Lost Boys: The Tribe (2008), featuring both actors, and The Lost Boys: The Thirst (2009), starring Feldman—which revisited the original's vampire lore and the characters' brotherly dynamic as a homage to the pair's enduring appeal. The 2018 Lifetime biopic A Tale of Two Coreys, executive produced by Feldman and premiered on January 6, 2018, dramatized their rise to fame and close bond, portraying their collaboration as a poignant emblem of Hollywood's fleeting stardom and loyal friendship. Ongoing cultural echoes persist through fan-driven interest, including Feldman's regular appearances at conventions such as Comic Convention (July 28-30, 2023) and Richmond (2023), where attendees celebrate their films amid nostalgia events. Merchandise availability, from official Pops limited to 4,000 units signed by Feldman to apparel via platforms like and , underscores sustained collector enthusiasm for their era-defining images. These elements frame the duo as a in narratives of child stardom's highs, evoking wistful reflections on pop culture without delving into personal declines.

Debates on Child Actor Exploitation

The commercial successes of child actors like Corey Feldman and Corey Haim, whose films such as The Lost Boys grossed over $30 million at the box office, contrast sharply with empirical patterns of long-term failure among former child stars. Reports and analyses document elevated rates of substance abuse, mental health disorders, and career derailment, with industry observers noting that for every sustained success, numerous others succumb to instability, often linked to early environmental stressors rather than innate personal flaws. Adverse childhood experiences on sets, including prolonged exposure to high-pressure adult dynamics, correlate with later anxiety, depression, and addiction, underscoring systemic vulnerabilities over isolated moral failings. Debates on these patterns emphasize causal mechanisms rooted in Hollywood's structural permissive , where profit-driven schedules and lax enable unchecked adult interactions with minors, fostering predation and early substance introduction. Conservative critiques highlight moral hazards in an industry that normalizes boundary erosion—such as extended hours without robust parental or regulatory barriers—creating environments conducive to exploitation, as evidenced by recurring allegations of grooming and abuse across decades. In contrast, some mainstream narratives attribute downfalls to inherent "wild child" tendencies, a framing critiqued for downplaying institutional enablers amid documented links between set isolation and predatory access, particularly given biases in coverage that underreport systemic accountability. These discussions reject glamorization of precocious fame without safeguards, arguing that empirical outcomes for actors like and Feldman reveal how permissive norms amplify risks, including financial mismanagement and from adult-centric power imbalances. Calls for advocate expanded oversight, such as mandatory background checks for crew, enforced "" parental presence, and stricter adherence to labor limits, building on frameworks like California's Coogan Law to prioritize child welfare over production expediency. Recent legislative pushes, including financial protections against parental exploitation, further underscore the need for proactive measures to mitigate hazards observed in cases exemplifying broader patterns.

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